The life of Dr. Edith Farnsworth was long distorted by her dealings with Mies van der Rohe, who designed her glass house in Illinois. Almost Nothing asks us to take a closer look.

A new translation of a beloved Argentine comic, artists over 50 tell their stories, diasporic Puerto Rican art history, and more to enjoy by the seaside (or your A/C).

Nora Naranjo Morse’s colorful sculptures watch over the events and characters in her daughter Eliza’s paintings from their own unique perspectives.

The art of Marsha P. Johnson, Yoko Ono reappraised, Jack Whitten’s studio notebook, a fictional curator’s Greece trip goes awry, and more to read this season.

A new book sets its sights on the artist’s lesser-known post-war career and her negotiations of identity.

In her art, Flowers thinks about monster mythology and autonomy as they relate to the all-too-human experience of feeling unwanted and out of place.

By creating still life photographs from the everyday items of a historic Taos family, Zimmerman inserts herself and viewers into the personal history of others. 

Horizons: Weaving Between the Lines with Diné Textiles brings together varied stylistic traditions and artists of different centuries to display the breadth of Diné weaving.

In Broken Boxes artists share stories about their lives and experiences instead of relying solely on institutional didactics to “explain” what their work is about.

Real or imagined, the monsters envisioned in the show Among Monsters do not exist without us.

A new book centers the voices of those whose hands built the historic school and whose dreams shaped its programs, all of which involved a little-known farm.

“Drawing” with her own hair, the artist addresses cultural stereotypes and sociopolitical issues including feminism, personal agency, and aging.

Out West has no strict or static boundaries, no assumptions about or prescriptions for what 20th-century “queer art” in the region may have been.

Texture, pattern, repetition, and practice combine with chance and the reality of climate change in the work of Dominick Porras.

The mainstream art world might finally be catching up with Hammond, who has been breaking barriers for more than six decades.

The artist’s work embodies a level of confrontation that makes me contemplate our choices to explore or ignore what’s right in front of our face.

The risograph’s handmade aesthetic has become associated with posters, broadsheets, zines, and pamphlets, and has been embraced by small publishers.

The curator, writer, and teacher’s memoir winds its way through his four-decade career, arriving, geographically and conceptually, back where he started.

Lackey’s “cut paintings” bring to the forefront the often invisible or rarely acknowledged experiences of connection.

In a group show, women artists look at the physical experience of the pause — of being in places where time and memory loosen their grip, making way for what’s next.

Albuquerque artist sheri crider uses her work to transform people’s lives and create actionable change in criminal justice reform.

Going with the Flow explores the role of water in the Southwest amid the 23-year drought, but neglects the ongoing tug of war due to water mandates and drought.

Carried Impressions: Lithographs and Monoprints from the 1960s doesn’t demand the spotlight, but it’s ripe for exploration.

The semi-durational installation The Mountains Wore Down to the Valleys poetically frames the challenges of the pandemic, and more.

“I’m focused on contemporary Native American stories, the modern-day ups and downs of that lifestyle, but I’m not trying to do it in a traditional manner,” the award-winning filmmaker told Hyperallergic in an interview.

“Artists are the key people who are helping us to think differently and better about not just the future, but the past and the present,” said Laura August, who’s been chosen to lead the Visual Arts center at the University of Texas at El Paso.

Castillo's decision to install her work in a rural campus gallery space drives home the fact that art can, perhaps must, be a daily experience.

When prints are exhibited, the printer is generally not credited as co-creator of the work and often the print publisher or workshop is not named.

The group of self-identified idealists, active until 1942, created nonrepresentational paintings of and from the creative imagination.

Upon invitation from the Wheelwright Museum, Nathan Young has created an installation of bridles, bow guards, belt buckles, and cigarette holders ranging from the 19th century to the present.

Cryptoart is being generated by artists looking for something that the conventional art world can’t, or won’t, offer them.